In Andersson's world, normal human phenomena take on the inscrutability of the surreal. When a magician accepts a volunteer from the audience, for instance, we expect the volunteer to not actually get sawn in half; Andersson asks us to drop that expectation. Traffic jams, in the real world, have limited durations and a determinable cause; in Songs from the Second Floor, they stretch on through the night and no one knows why. Work produces income, but in Andersson's film no one can afford to work anymore, and the man who holds the explanatory memo - a very complicated, problematic memo - has lost it, and it can't be redone.
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